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  • The politics of art and art scenes in Latin America (II)
    The mnemonic and democratic function of art in public spaces is one of the themes in this second issue on art and politics in Latin America.
  • Caring, Curiosity and Curating, Beyond the End
    The interlacing of these words –curious, care, cure- is perhaps the best way to describe the research and residency program Ensayos that takes place in Tierra del Fuego, Chile, since 2011
  • The choreography of history and belonging in Tamara Cubas’ works
    The questions posed by Cubas and others interested in deconstructing colonial power regard the fact that all too often, the self-imagination of the colonized tends to reproduce the colonial gaze.
  • Affective Constructions: Notes on Housing and Art
    Self-built houses are a flux, a never-ending state of construction and destruction, caught in a loop of incompleteness, hanging from the threads of necessity, possibility, and imagination.
  • Chicano Art, Imagery of Social Movements and José Guadalupe Posada
    The Taller de Grafica Popular (Mexico City); the ASARO (Asambleadelos Artistas Revolucionarios de Oaxaca, Mexico), Consejo Grafico, The Royal Chicano Airforce (both United States); and collectively the Chicano Art movement (United States) are but a few examples of how Posada's role has inspired artists and artist collectives dedicated to producing art to effect social change.
  • The uses of art in project Comboio, Favela Moinho, 31st Bienal de São Paulo
    Comboio defines itself as a project (in action) of research and urban intervention, which since 2010 operates in 'informal spaces' in the center of São Paulo, seeking ways to exercise and assert the right to the city.
  • The Evocation of Memory through Street Art in Guatemala and Argentina
    In Guatemala, civil war raged for thirty-six years, finally coming to an end in 1996. In Argentina, the military junta enforced extreme measures of repression between 1976 and 1983. In both countries today, there is division over how these violent pasts should be remembered and how its victims should be memorialized.
  • Poetics and Aesthetics in Zapatismo. The Farewell of Subcomandante Marcos
    The figure of “Marcos the Revolutionary leader” mystifies the reality of the Zapatista movement (in terms of race, class, and structure), but it also tends to assign the Zapatista rebel to a specific place in the world of images. The farewell of Marcos can be seen as a subversion of this dynamics. It constitutes a sort of aesthetic depuration, which moves the attention to the bases and the process of construction of a real egalitarian power from below.